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Excerpt from Musical Pitch and the Measurement of Intervals Among the Ancient Greeks Tive matter, but actual plans of temples, dwelllngs, and soforth. In proportlon as these plans were perfect, we should be ln a pos1tlon at any moment to construct more or less accu rate representatlons of these ancient buildlngs or even to make a 11fe-smze restoration. In such a case an01ent arch1 tecture would be ln a cond1tion, so far as our appreclatlon of 1t ls concerned, analogous to that ln wh1ch anclent mus1c now flnds itself. We have admlrable theoretlcal treatlses and we have also a few 1ncomplete plans and speclflcatlons; for what 1s a mu31cal score but a draw1ng or a ground plan of the mu81cal structure? To reproduce 1t, all that IS needed 1s a knowledge of the symbols employed ln the speclflcatlons and the means to interpret them accordlng to the conventlons there used. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from Musical Pitch and the Measurement of Intervals Among the Ancient Greeks: Thesis Claudius Ptolemy's classification of sounds - His definition of the Musical Sound - His classification discussed. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Why is it that certain intervals, scales, and tones sound genuine, while others sound false? Is the modern person able to experience a qualitative difference in a tone's pitch? If so, what are the implications for modern concert pitch and how instruments of fixed tuning are tuned? Renold tackles these and many other questions and provides a wealth of scientific data. Her pioneering work is the result of a lifetime of research into the Classical Greek origin of Western music and the search for modern developments. She deepens our musical understanding by using Rudolf Steiner's spiritual science as a basis, and she elucidates many of his puzzling statements about music. The results of her work include the following discoveries: - The octave has two sizes (a 'genuine' sounding octave is bigger than the "perfect octave") - There are three sizes of "perfect fifths" - An underlying "form principle" for all scales can be found - Equal temperament is not the most satisfactory method of tuning a piano - She provides a basis for some of Steiner's statements, such as, "C is always prime" and "C = 128 Hz = Sun." Intervals, Scales, Tones is a valuable resource for those who wish to understand the deeper, spiritual aspects of music.